Production Techniques – Film
and TV
Coverage
The following techniques may be helpful in providing the editor with
sufficient footage.
• Master shot.
• Establishing shot.
• Focus on talking characters.
• Reaction shots.
• Noddies.
• Cutaways.
The Take
Once you have everything planned and set up, you are ready for the take.
Definition: A take is a continuous
recording of a scene or shot. It begins
with the following calls made by the
assistant director (AD).
Things to consider:
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•
•
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Last looks
Sound
Camera
Action
Cut
Jump cuts
• Editing requires cutting between lots of different shots of a character
or scene.
• A jump cut occurs when a cut is made from one shot to another of
the same subject without any real change in camera position or shot
size.
• It is called a jump cut because the result is usually a perceptible jump
that breaks the sense of continuity.
• These are mostly avoided, but can be effective when used
appropriately, particularly in contemporary film and television
Avoiding jump cuts and the 30 degree rule
continued
• Classical Hollywood editing style suggests that the camera should be
moved at least 30 degrees away from its previous position when
shooting the same subject to avoid a jump cut and appear seamless
• Some editors also demand that the camera should change shot size,
for example from a mid-shot to a close-up.
Documentaries and vox pop
• Vox pops are quick reaction comments from people in the street.
• The balance of opinions the audience sees on screen should be
broadly representative of those actually expressed when people were
asked.
Indoor location
Consider the following when shooting indoors:
• Space for shooting.
• Lighting.
• Sound.
• Mise-en-scène.
Outdoor location
Consider the following when shooting outdoors:
• Backgrounds
• The public
• Security.
• Equipment leftovers
• Lighting
• Sound
Studio locations
Consider the following when shooting in a (school) studio:
• Green screen reflection
• Clothing choices
• Sound
Three point lighting
• Key light
• Fill light
• Back light
Recording sound
All sound recorded on set or on
location is called production sound.
Live production sound is always the
most realistic.
Omnidirectional microphones
Good for
• recording situations in which a group of actors are delivering dialogue while standing close together.
• recording atmospheric or ambient sound from all around.
Not good for
• picking out the sound of one person's voice when there is a lot of surrounding sound.
Recording sound cont…
Unidirectional microphones.
Sometimes called shotgun
microphones because they often
have a long, thin shape like a rifle barrel.
Good for:
• situations where you need to focus on one sound source to the exclusion of all others —for
example, when a character is talking and you need to focus only on them. A unidirectional
• cutting out traffic sounds or other loud noises near where someone is speaking.
Not good for
• multiple sound sources. They do not work well if a group of people are speaking, unless you
move the microphone towards each one as they speak.
Recording sound cont…
Cardioid microphones.
It is a kind of unidirectional microphone but with broader pick-up area.
good compromise between omni- and unidirectional mikes.
Good for
• general use.
Techniques for recording
Things to consider:
• Using headphones
• Sound levels
• Placing microphones
• Atmos track
• Room tone track
• Recording narration
Activity
1. Describe the locations for your production and discuss the
considerations for those locations.
2. Complete two short scenes – one where you create jumpcuts and
one where you avoid them.
3. Describe three filming situations where you would use the following
microphones:
• Omnidirectional
• Unidirectional
• Cardioid